From: Bill Spight (bspight@pacbell.net)
Date: Fri 15 Apr 2005 - 16:10:03 GMT
Dear Derek,
>
> http://www.findarticles.com/p/articles/mi_m0422/is_4_80/ai_54073959/pg_3
>
>
> "the famous Parisian hoax of 1910, in which the art critic Roland
> Dorgeles and the proprietor of the Montmartre cabaret Le Lapin Agile,
> Frederic Gerard, painted a seascape by tying a brush to a donkey's
> tail and then exhibited the painting at the Salon des Independants of
> 1910 under the name of Joachim Boronali "
>
Verrry interesting. Many thanks. :-)
> but there's no mention of them winning. I wonder about these kind of
> stories because there are many of the form "modern art is rubbish
> because it was done by a x, and the critics couldn't tell", where x
> can be an animal, child, weather etc. I once met somebody who
> claimed to have successfully executed such a hoax - but the issue is
> always clouded by the fact that those who make such claims always
> have an anti-modern art agenda.
True.
By the time you get to aleatory art, though, what's to hoax? ;-)
Surprise, it's not really random? <hehe>
I think that there is something of interest here in terms of memetic
variation. I expect that two variations, donkey -> mule, and tying a
brush to the tail -> dipping the tail in paint, are the result of my
faulty memory and are random. The addition of winning a prize, however,
I am less willing to claim. Also, it does not seem random. It makes a
better story.
Making a better story suggests an increase in memetic fitness. Also, it
seems not to be uncommon. How many times are tales and accounts enhanced
in the retelling to make a better story? (Whether consciously or
unconsciously.) How does that happen? What does it imply for memetics?
Best regards,
Bill
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